[1]"Thou shalt not need to travel with thy pumps full of gravel any more, after a blind jade and a hamper, and stalk upon boards and barrel-heads." (Poetaster,iii, i.)
[1]"Thou shalt not need to travel with thy pumps full of gravel any more, after a blind jade and a hamper, and stalk upon boards and barrel-heads." (Poetaster,iii, i.)
[2]All historians of the drama have confused this great carriers' inn with the Boar's Head in Eastcheap made famous by Falstaff. The error seems to have come from theAnalytical Index of the Remembrancia, which (p. 355) incorrectly catalogues the letter of March 31, 1602, as referring to the "Boar's Head in Eastcheap." The letter itself, however, when examined, gives no indication whatever of Eastcheap, and other evidence shows conclusively that the inn was situated in Whitechapel just outside of Aldgate.
[2]All historians of the drama have confused this great carriers' inn with the Boar's Head in Eastcheap made famous by Falstaff. The error seems to have come from theAnalytical Index of the Remembrancia, which (p. 355) incorrectly catalogues the letter of March 31, 1602, as referring to the "Boar's Head in Eastcheap." The letter itself, however, when examined, gives no indication whatever of Eastcheap, and other evidence shows conclusively that the inn was situated in Whitechapel just outside of Aldgate.
[3]See especiallyThe Acts of the Privy CouncilandThe Remembranciaof the City of London.
[3]See especiallyThe Acts of the Privy CouncilandThe Remembranciaof the City of London.
[4]There is some error here. The city had no jurisdiction over Whitefriars, or Blackfriars either; but there was a playhouse in Blackfriars at the time, and it was suppressed in 1584, though not by the city authorities. Possibly Reulidge should have written "Whitechapel."
[4]There is some error here. The city had no jurisdiction over Whitefriars, or Blackfriars either; but there was a playhouse in Blackfriars at the time, and it was suppressed in 1584, though not by the city authorities. Possibly Reulidge should have written "Whitechapel."
[5]The Remembranciashows that the inn-playhouses remained for many years as sharp thorns in the side of the puritanical city fathers.
[5]The Remembranciashows that the inn-playhouses remained for many years as sharp thorns in the side of the puritanical city fathers.
[6]Grosart,Nash,i, 179.
[6]Grosart,Nash,i, 179.
[7]Dasent,Acts of the Privy Council,vi, 168.
[7]Dasent,Acts of the Privy Council,vi, 168.
[8]W. Rendle,The Inns of Old Southwark, p. 235.
[8]W. Rendle,The Inns of Old Southwark, p. 235.
[9]A. Feuillerat,Documents Relating to the Office of the Revels in the Time of Queen Elizabeth, p. 277.
[9]A. Feuillerat,Documents Relating to the Office of the Revels in the Time of Queen Elizabeth, p. 277.
[10]Burbagev.Brayne, printed in C.W. Wallace,The First London Theatre, pp. 82, 90. Whether Burbage was going to the Cross Keys as a spectator or as an actor is not indicated; but the presumption is that he was then playing at the inn, although he was proprietor of the Theatre.
[10]Burbagev.Brayne, printed in C.W. Wallace,The First London Theatre, pp. 82, 90. Whether Burbage was going to the Cross Keys as a spectator or as an actor is not indicated; but the presumption is that he was then playing at the inn, although he was proprietor of the Theatre.
[11]Arber'sEnglish Reprints, p. 40.
[11]Arber'sEnglish Reprints, p. 40.
[12]See The Malone Society'sCollections,i, 55-57.
[12]See The Malone Society'sCollections,i, 55-57.
[13]SeeThe Remembrancia, in The Malone Society'sCollections,i, 66.
[13]SeeThe Remembrancia, in The Malone Society'sCollections,i, 66.
[14]C.W. Wallace,The First London Theatre, p. 11.
[14]C.W. Wallace,The First London Theatre, p. 11.
[15]MS. Sloane, 2530, f. 6-7, quoted by J.O. Halliwell in his edition ofTarlton's Jests, p. xi. The Bell Savage seems to have been especially patronized by fencers. George Silver, in hisParadoxe of Defence(1599), tells how he and his brother once challenged two Italian fencers to a contest "to be played at the Bell Savage upon the scaffold, when he that went in his fight faster back than he ought, should be in danger to break his neck off the scaffold."
[15]MS. Sloane, 2530, f. 6-7, quoted by J.O. Halliwell in his edition ofTarlton's Jests, p. xi. The Bell Savage seems to have been especially patronized by fencers. George Silver, in hisParadoxe of Defence(1599), tells how he and his brother once challenged two Italian fencers to a contest "to be played at the Bell Savage upon the scaffold, when he that went in his fight faster back than he ought, should be in danger to break his neck off the scaffold."
[16]First printed in 1611; reprinted by J.O. Halliwell for The Shakespeare Society in 1844.
[16]First printed in 1611; reprinted by J.O. Halliwell for The Shakespeare Society in 1844.
[17]MS. Sloane, 2530, f. 6-7, quoted by Halliwell in his edition ofTarlton's Jests, p. xi. There is some difficulty with the date. One of the "masters" before whom the prize was played was "Rycharde Tarlton," whom Halliwell takes to be the famous actor of that name; but Tarleton the actor died on September 3, 1588. Probably Halliwell in transcribing the manuscript silently modernized the date from the Old Style.
[17]MS. Sloane, 2530, f. 6-7, quoted by Halliwell in his edition ofTarlton's Jests, p. xi. There is some difficulty with the date. One of the "masters" before whom the prize was played was "Rycharde Tarlton," whom Halliwell takes to be the famous actor of that name; but Tarleton the actor died on September 3, 1588. Probably Halliwell in transcribing the manuscript silently modernized the date from the Old Style.
[18]Lansdowne MSS.60, quoted by Collier,History of English Dramatic Poetry(1879),i, 265.
[18]Lansdowne MSS.60, quoted by Collier,History of English Dramatic Poetry(1879),i, 265.
[19]The Remembrancia, The Malone Society'sCollections,i, 73.
[19]The Remembrancia, The Malone Society'sCollections,i, 73.
[20]See W. Rendle,The Inns of Old Southwark, p. 236.
[20]See W. Rendle,The Inns of Old Southwark, p. 236.
[21]The passage does not appear in the earlier edition of 1576, though it was probably written shortly after the erection of the Theatre in the autumn of 1576.
[21]The passage does not appear in the earlier edition of 1576, though it was probably written shortly after the erection of the Theatre in the autumn of 1576.
[22]The Remembrancia, The Malone Society'sCollections,i, 85.
[22]The Remembrancia, The Malone Society'sCollections,i, 85.
[23]They had to use the Rose nevertheless; see page158.
[23]They had to use the Rose nevertheless; see page158.
[24]The Malone Society'sCollections,i, 265.
[24]The Malone Society'sCollections,i, 265.
[25]So the Lord Mayor characterized playgoers; seeThe Remembrancia, in The Malone Society'sCollections,i, 75.
[25]So the Lord Mayor characterized playgoers; seeThe Remembrancia, in The Malone Society'sCollections,i, 75.
[26]The Malone Society'sCollections,i, 164.
[26]The Malone Society'sCollections,i, 164.
[27]The Remembrancia, in The Malone Society'sCollections,i, 69.
[27]The Remembrancia, in The Malone Society'sCollections,i, 69.
[28]Dasent,Acts of the Privy Council,viii, 131, 132.
[28]Dasent,Acts of the Privy Council,viii, 131, 132.
[29]For the complete document see W.C. Hazlitt,The English Drama and Stage, p. 27.
[29]For the complete document see W.C. Hazlitt,The English Drama and Stage, p. 27.
[30]I emphasize this point because the opposite is the accepted opinion. We find it expressed inThe Cambridge History of English Literature,vi, 431, as follows: "Certain players, finding the city obdurate, and unwilling to submit to its severe regulations, began to look about them for some means of carrying on their business out of reach of the mayor's authority," etc.
[30]I emphasize this point because the opposite is the accepted opinion. We find it expressed inThe Cambridge History of English Literature,vi, 431, as follows: "Certain players, finding the city obdurate, and unwilling to submit to its severe regulations, began to look about them for some means of carrying on their business out of reach of the mayor's authority," etc.
[31]Deposition by Robert Myles, 1592, printed in Wallace'sThe First London Theatre, p. 141.
[31]Deposition by Robert Myles, 1592, printed in Wallace'sThe First London Theatre, p. 141.
[32]See page134.
[32]See page134.
[33]SeeThe Remembrancia, p. 274; Stow,Survey. The Corporation of London held the manor on lease from St. Paul's Cathedral until 1867.
[33]SeeThe Remembrancia, p. 274; Stow,Survey. The Corporation of London held the manor on lease from St. Paul's Cathedral until 1867.
[34]Doubtless, too, Burbage was influenced in his choice by the fact that he had already made his home in the Liberty of Shoreditch, near Finsbury Field.
[34]Doubtless, too, Burbage was influenced in his choice by the fact that he had already made his home in the Liberty of Shoreditch, near Finsbury Field.
[35]For a detailed history of the property from the year 1128, and for the changes in the ownership of Alleyn's portion after the dissolution, see Braines,Holywell Priory.
[35]For a detailed history of the property from the year 1128, and for the changes in the ownership of Alleyn's portion after the dissolution, see Braines,Holywell Priory.
[36]Halliwell-Phillipps,Outlines,i, 365. The suit concerns the Curtain property, somewhat south of the Alleyn property, but a part of the Priory.
[36]Halliwell-Phillipps,Outlines,i, 365. The suit concerns the Curtain property, somewhat south of the Alleyn property, but a part of the Priory.
[37]I have based this map in large measure on the documents presented by Braines in his excellent pamphlet,Holywell Priory.
[37]I have based this map in large measure on the documents presented by Braines in his excellent pamphlet,Holywell Priory.
[38]For proof see Braines,op. cit.
[38]For proof see Braines,op. cit.
[39]The original lease may be found incorporated in Alleynv.Street, Coram Rege, 1599-1600, printed in full by Wallace,The First London Theatre, pp. 163-80, and again in Alleynv.Burbage, Queen's Bench, 1602, Wallace,op. cit., pp. 267-75. The lease, I think, was in English not Latin, and hence is more correctly given in the first document; in the second document the scrivener has translated it into Latin. The lease is also given in part on page187.
[39]The original lease may be found incorporated in Alleynv.Street, Coram Rege, 1599-1600, printed in full by Wallace,The First London Theatre, pp. 163-80, and again in Alleynv.Burbage, Queen's Bench, 1602, Wallace,op. cit., pp. 267-75. The lease, I think, was in English not Latin, and hence is more correctly given in the first document; in the second document the scrivener has translated it into Latin. The lease is also given in part on page187.
[40]This part of the property was claimed by the Earl of Rutland, and was being used by him. For a long time it was the subject of dispute. Ultimately, it seems, the Earl secured the title, as he had always had the use of the property. This probably explains why Burbage did not attempt to erect his playhouse there.
[40]This part of the property was claimed by the Earl of Rutland, and was being used by him. For a long time it was the subject of dispute. Ultimately, it seems, the Earl secured the title, as he had always had the use of the property. This probably explains why Burbage did not attempt to erect his playhouse there.
[41]The document by error reads "brick wall" but the mistake is obvious, and the second version of the lease does not repeat the error. This clause merely means that the ditch, not the brick wall, constituted the western boundary of the property.
[41]The document by error reads "brick wall" but the mistake is obvious, and the second version of the lease does not repeat the error. This clause merely means that the ditch, not the brick wall, constituted the western boundary of the property.
[42]Quoted from Burbagev.Alleyn, Court of Requests, 1600, Wallace,op. cit., p. 182. I have stripped the passage of some of its legal verbiage.
[42]Quoted from Burbagev.Alleyn, Court of Requests, 1600, Wallace,op. cit., p. 182. I have stripped the passage of some of its legal verbiage.
[43]Quoted from Burbagev.Alleyn, Court of Requests, 1600, Wallace,op. cit., p. 182.
[43]Quoted from Burbagev.Alleyn, Court of Requests, 1600, Wallace,op. cit., p. 182.
[44]That is, about £80.
[44]That is, about £80.
[45]Wallace,op. cit., p. 134; cf. p. 153.
[45]Wallace,op. cit., p. 134; cf. p. 153.
[46]Wallace,op. cit., p. 151. Cuthbert Burbage declared in 1635: "The Theatre he built with many hundred pounds taken up at interest." (Halliwell-Phillipps,Outlines,i, 317.)
[46]Wallace,op. cit., p. 151. Cuthbert Burbage declared in 1635: "The Theatre he built with many hundred pounds taken up at interest." (Halliwell-Phillipps,Outlines,i, 317.)
[47]The name is often spelled "Braynes."
[47]The name is often spelled "Braynes."
[48]Wallace,op. cit., p. 109.
[48]Wallace,op. cit., p. 109.
[49]See Wallace,op. cit., pp. 139seq.
[49]See Wallace,op. cit., pp. 139seq.
[50]That is, half-interest.
[50]That is, half-interest.
[51]Wallace,op. cit., p. 40.
[51]Wallace,op. cit., p. 40.
[52]Wallace,op. cit., p. 136.
[52]Wallace,op. cit., p. 136.
[53]Braynev.Burbage, 1592. Printed in full by Wallace,op cit.p. 141.
[53]Braynev.Burbage, 1592. Printed in full by Wallace,op cit.p. 141.
[54]Wallace,op. cit., pp. 213, 217, 263, 265,et al.
[54]Wallace,op. cit., pp. 213, 217, 263, 265,et al.
[55]Wallace,op. cit., pp. 137, 141, 142, 148, 153.
[55]Wallace,op. cit., pp. 137, 141, 142, 148, 153.
[56]Alleynv.Burbage, Star Chamber Proceedings, 1601-02; printed by Wallace,op. cit., p. 277.
[56]Alleynv.Burbage, Star Chamber Proceedings, 1601-02; printed by Wallace,op. cit., p. 277.
[57]Mylesv.Burbage and Alleyn, 1597; printed by Wallace,op. cit., p. 159; cf. pp. 263, 106, 152.
[57]Mylesv.Burbage and Alleyn, 1597; printed by Wallace,op. cit., p. 159; cf. pp. 263, 106, 152.
[58]See Wallace,op. cit., p. 277.
[58]See Wallace,op. cit., p. 277.
[59]This agrees with the claim of Brayne's widow.
[59]This agrees with the claim of Brayne's widow.
[60]Wallace,op. cit., p. 120.
[60]Wallace,op. cit., p. 120.
[61]Mr. E.K. Chambers (The Mediæval Stage,i, 383, note 2;ii, 190, note 4) calls attention to a "theatre" belonging to the city of Essex as early as 1548. Possibly the Latin document he cites referred to an amphitheatre of some sort near the city which was used for dramatic performances; at any rate "in theatro" does not necessarily imply the existence of a playhouse (cf., for example,op. cit.,i, 81-82). There is also a reference (quoted by Chambers,op. cit.,ii, 191, note 1, fromNorfolk Archæology,xi, 336) to a "game-house" built by the corporation of Yarmouth in 1538 for dramatic performances. What kind of house this was we do not know, but the corporation leased it for other purposes, with the proviso that it should be available "at all such times as any interludes or plays should be ministered or played." Howes, in his continuation of Stow'sAnnals(1631), p. 1004, declares that before Burbage's time he "neither knew, heard, nor read of any such theatres, set stages, or playhouses as have been purposely built, within man's memory"; and Cuthbert Burbage confidently asserted that his father "was the first builder of playhouses"—an assertion which, I think, cannot well be denied.
[61]Mr. E.K. Chambers (The Mediæval Stage,i, 383, note 2;ii, 190, note 4) calls attention to a "theatre" belonging to the city of Essex as early as 1548. Possibly the Latin document he cites referred to an amphitheatre of some sort near the city which was used for dramatic performances; at any rate "in theatro" does not necessarily imply the existence of a playhouse (cf., for example,op. cit.,i, 81-82). There is also a reference (quoted by Chambers,op. cit.,ii, 191, note 1, fromNorfolk Archæology,xi, 336) to a "game-house" built by the corporation of Yarmouth in 1538 for dramatic performances. What kind of house this was we do not know, but the corporation leased it for other purposes, with the proviso that it should be available "at all such times as any interludes or plays should be ministered or played." Howes, in his continuation of Stow'sAnnals(1631), p. 1004, declares that before Burbage's time he "neither knew, heard, nor read of any such theatres, set stages, or playhouses as have been purposely built, within man's memory"; and Cuthbert Burbage confidently asserted that his father "was the first builder of playhouses"—an assertion which, I think, cannot well be denied.
[62]The rest of his speech indicates that he had the Theatre in mind. The passage, of course, is rhetorical.
[62]The rest of his speech indicates that he had the Theatre in mind. The passage, of course, is rhetorical.
[63]One cannot be absolutely sure, yet the whole history of early playhouses indicates that the Theatre was polygonal (or circular) in shape. The only reason for suspecting that it might have been square, doubtfully presented by T.S. Graves in "The Shape of the First London Theatre" (The South Atlantic Quarterly, July, 1914), seems to me to deserve no serious consideration.
[63]One cannot be absolutely sure, yet the whole history of early playhouses indicates that the Theatre was polygonal (or circular) in shape. The only reason for suspecting that it might have been square, doubtfully presented by T.S. Graves in "The Shape of the First London Theatre" (The South Atlantic Quarterly, July, 1914), seems to me to deserve no serious consideration.
[64]Quoted by W.B. Rye,England as Seen by Foreigners, p. 88.
[64]Quoted by W.B. Rye,England as Seen by Foreigners, p. 88.
[65]Wallace,op. cit., p. 177.
[65]Wallace,op. cit., p. 177.
[66]There is no reason whatever to suppose, with Ordish, Mantzius, Lawrence, and others, that the stage of the Theatre was removable; for although the building was frequently used by fencers, tumblers, etc., it was never, so far as I can discover, used for animal-baiting.
[66]There is no reason whatever to suppose, with Ordish, Mantzius, Lawrence, and others, that the stage of the Theatre was removable; for although the building was frequently used by fencers, tumblers, etc., it was never, so far as I can discover, used for animal-baiting.
[67]Wallace,op. cit., p. 135.
[67]Wallace,op. cit., p. 135.
[68]For depositions to this effect see Halliwell-Phillipps,Outlines,i, 350 ff.
[68]For depositions to this effect see Halliwell-Phillipps,Outlines,i, 350 ff.
[69]I suspect that the same terms were made with the actors by the proprietors of the inn-playhouses.
[69]I suspect that the same terms were made with the actors by the proprietors of the inn-playhouses.
[70]Halliwell-Phillipps,Outlines,i, 317.
[70]Halliwell-Phillipps,Outlines,i, 317.
[71]Wallace,op. cit., pp. 142, 148.
[71]Wallace,op. cit., pp. 142, 148.
[72]For the history of this quarrel, and for other details of the award see Wallace,op. cit., pp. 102, 119, 138, 142, 143, 148, 152.
[72]For the history of this quarrel, and for other details of the award see Wallace,op. cit., pp. 102, 119, 138, 142, 143, 148, 152.
[73]Wallace,op. cit., p. 103.
[73]Wallace,op. cit., p. 103.
[74]See Wallace,op. cit., pp. 201, 239, 240, 242.
[74]See Wallace,op. cit., pp. 201, 239, 240, 242.
[75]Wallace,op. cit., pp. 229, 234, 228, 233.
[75]Wallace,op. cit., pp. 229, 234, 228, 233.
[76]Wallace,op. cit., p. 55.
[76]Wallace,op. cit., p. 55.
[77]Ibid., p. 105.
[77]Ibid., p. 105.
[78]Wallace,op. cit., pp. 57, 60, 62.
[78]Wallace,op. cit., pp. 57, 60, 62.
[79]Ibid., p. 121.
[79]Ibid., p. 121.
[80]Wallace,op. cit., pp. 63, 97, 100, 101, 114.
[80]Wallace,op. cit., pp. 63, 97, 100, 101, 114.
[81]See Wallace,op. cit., pp. 195, 212, 216, 250, 258,et al.
[81]See Wallace,op. cit., pp. 195, 212, 216, 250, 258,et al.
[82]Wallace,op. cit., p. 246.
[82]Wallace,op. cit., p. 246.
[83]Ibid., p. 184.
[83]Ibid., p. 184.
[84]The lease expired on April 13, 1597; on July 28 the Privy Council closed all playhouses until November. The references to the Theatre inThe Remembrancia(see The Malone Society'sCollections,i, 78) do not necessarily imply that the building was then actually used by the players.
[84]The lease expired on April 13, 1597; on July 28 the Privy Council closed all playhouses until November. The references to the Theatre inThe Remembrancia(see The Malone Society'sCollections,i, 78) do not necessarily imply that the building was then actually used by the players.
[85]The same fact is revealed in the author's remark, "If my dispose persuade me to a play, I'le to the Rose or Curtain," for at this time only the Chamberlain's Men and the Admiral's Men were allowed to play.
[85]The same fact is revealed in the author's remark, "If my dispose persuade me to a play, I'le to the Rose or Curtain," for at this time only the Chamberlain's Men and the Admiral's Men were allowed to play.
[86]Wallace,op. cit., pp. 216, 249.
[86]Wallace,op. cit., pp. 216, 249.
[87]Ibid., pp. 277, 288.
[87]Ibid., pp. 277, 288.
[88]The date, January 20, 1599, seems to be an error.
[88]The date, January 20, 1599, seems to be an error.
[89]Wallace,op. cit., p. 238.
[89]Wallace,op. cit., p. 238.
[90]Wallace,op. cit., pp. 278-79. This document was discovered by J.O. Halliwell-Phillipps, who printed extracts in hisOutlines. See also Ordish,Early London Theatres, pp. 75-76.
[90]Wallace,op. cit., pp. 278-79. This document was discovered by J.O. Halliwell-Phillipps, who printed extracts in hisOutlines. See also Ordish,Early London Theatres, pp. 75-76.
[91]For a list of the Queen's Men see Wallace,op. cit., p. 11.
[91]For a list of the Queen's Men see Wallace,op. cit., p. 11.
[92]Such a license would include also permission to act in the provinces. This latter was soon needed, for shortly after their organization the Queen's Men were driven by the plague to tour the provinces. They were in Cambridge on July 9, and probably returned to London shortly after. See Murray,English Dramatic Companies,i, 8.
[92]Such a license would include also permission to act in the provinces. This latter was soon needed, for shortly after their organization the Queen's Men were driven by the plague to tour the provinces. They were in Cambridge on July 9, and probably returned to London shortly after. See Murray,English Dramatic Companies,i, 8.
[93]The Malone Society'sCollections,i, 66.
[93]The Malone Society'sCollections,i, 66.
[94]Lord Hunsdon, on October 8, 1594, requested the Lord Mayor to permit the Chamberlain's Men "to play this winter time within the city at the Cross Keys in Gracious Street." See The Malone Society'sCollections,i, 67.
[94]Lord Hunsdon, on October 8, 1594, requested the Lord Mayor to permit the Chamberlain's Men "to play this winter time within the city at the Cross Keys in Gracious Street." See The Malone Society'sCollections,i, 67.
[95]The Malone Society'sCollections,i, 170, 172.
[95]The Malone Society'sCollections,i, 170, 172.
[96]The letter is printed in full in The Malone Society'sCollections,i, 164.
[96]The letter is printed in full in The Malone Society'sCollections,i, 164.
[97]This could not have been Hide, as usually stated. Hide had nothing to do with the management of the Theatre, and was not "my Lord of Hunsdon's man." Hide's connection with the Theatre as sketched in this chapter shows the absurdity of such an interpretation of the document.
[97]This could not have been Hide, as usually stated. Hide had nothing to do with the management of the Theatre, and was not "my Lord of Hunsdon's man." Hide's connection with the Theatre as sketched in this chapter shows the absurdity of such an interpretation of the document.
[98]Wallace,op. cit., p. 11.
[98]Wallace,op. cit., p. 11.
[99]Murray,English Dramatic Companies,i, 321.
[99]Murray,English Dramatic Companies,i, 321.
[100]Tarlton's Jests, ed. by J.O. Halliwell, p. 16. Tarleton died in 1588.
[100]Tarlton's Jests, ed. by J.O. Halliwell, p. 16. Tarleton died in 1588.
[101]Wallace,op. cit., pp. 101, 126.
[101]Wallace,op. cit., pp. 101, 126.
[102]The Black Booke, 1604.
[102]The Black Booke, 1604.
[103]Wallace,op. cit., p. 101.
[103]Wallace,op. cit., p. 101.
[104]Greg,Henslowe's Diary,ii, 83. The Admiral's Men were reorganized in 1594, and occupied the Rose under Henslowe's management.
[104]Greg,Henslowe's Diary,ii, 83. The Admiral's Men were reorganized in 1594, and occupied the Rose under Henslowe's management.
[105]For other but unimportant references to the Theatre see The Malone Society'sCollections, vol.i: disorder at, October, 1577, p. 153; disorder at, on Sunday, April, 1580, p. 46; fencing allowed at, July, 1582, p. 57; fencing forbidden at, May, 1583, p. 62; to be closed during infection, May, 1583, p. 63; complaint against, by the Lord Mayor, September, 1594, p. 76. And see Halliwell-Phillipps,Outlines,i, 363, for a special performance there by a "virgin," February 22, 1582.
[105]For other but unimportant references to the Theatre see The Malone Society'sCollections, vol.i: disorder at, October, 1577, p. 153; disorder at, on Sunday, April, 1580, p. 46; fencing allowed at, July, 1582, p. 57; fencing forbidden at, May, 1583, p. 62; to be closed during infection, May, 1583, p. 63; complaint against, by the Lord Mayor, September, 1594, p. 76. And see Halliwell-Phillipps,Outlines,i, 363, for a special performance there by a "virgin," February 22, 1582.
[106]The site is probably marked by Curtain Court inChasserau's survey of 1745, reproduced on page79.
[106]The site is probably marked by Curtain Court inChasserau's survey of 1745, reproduced on page79.
[107]Ed. by J.O. Halliwell, for The Shakespeare Society (1844), p. 105.
[107]Ed. by J.O. Halliwell, for The Shakespeare Society (1844), p. 105.
[108]The Rose and the Red Bull derived their names in a similar way from the estates on which they were erected.
[108]The Rose and the Red Bull derived their names in a similar way from the estates on which they were erected.
[109]Halliwell-Phillipps,Outlines,i, 364.
[109]Halliwell-Phillipps,Outlines,i, 364.
[110]Tomlins,Origin of the Curtain Theatre, and Mistakes Regarding It, in The Shakespeare Society's Papers (1844), p. 29.
[110]Tomlins,Origin of the Curtain Theatre, and Mistakes Regarding It, in The Shakespeare Society's Papers (1844), p. 29.
[111]J.D. Wilson,The Cambridge History of English Literature,vi, 435, says that this sermon was "delivered at Paul's cross on 9 December, 1576 and, apparently, repeated on 3 November in the following year." This is incorrect; White did preach a sermon at Paul's Cross on December 9, but not the sermon from which this quotation is drawn.
[111]J.D. Wilson,The Cambridge History of English Literature,vi, 435, says that this sermon was "delivered at Paul's cross on 9 December, 1576 and, apparently, repeated on 3 November in the following year." This is incorrect; White did preach a sermon at Paul's Cross on December 9, but not the sermon from which this quotation is drawn.
[112]Ed. by J.P. Collier, for The Shakespeare Society (1843), p. 85.
[112]Ed. by J.P. Collier, for The Shakespeare Society (1843), p. 85.
[113]Dasent,Acts of the Privy Council,xxvii, 313.
[113]Dasent,Acts of the Privy Council,xxvii, 313.
[114]It seems, however, to have been smaller than the Theatre.
[114]It seems, however, to have been smaller than the Theatre.
[115]Johannes de Witt describes the Theatre and the Curtain along with the Swan and the Rose as "amphitheatra" (see page167). It is quite possible that Shakespeare refers to the Curtain in the Prologue toHenry Vas "this wooden O," though the reference may be to the Globe.
[115]Johannes de Witt describes the Theatre and the Curtain along with the Swan and the Rose as "amphitheatra" (see page167). It is quite possible that Shakespeare refers to the Curtain in the Prologue toHenry Vas "this wooden O," though the reference may be to the Globe.
[116]Malone,Variorum,iii, 54; cf. also Ellis,The Parish of St. Leonard.
[116]Malone,Variorum,iii, 54; cf. also Ellis,The Parish of St. Leonard.
[117]Did Steevens base his statement on this passage in Aubrey?
[117]Did Steevens base his statement on this passage in Aubrey?
[118]Braynev.Burbage, 1592, printed in full by Wallace,The First London Theatre, pp. 109-52. See especially pp. 126, 148.
[118]Braynev.Burbage, 1592, printed in full by Wallace,The First London Theatre, pp. 109-52. See especially pp. 126, 148.
[119]Easer?
[119]Easer?
[120]Wallace,op. cit., p. 148; cf. p. 126.
[120]Wallace,op. cit., p. 148; cf. p. 126.
[121]Tomlins,op. cit., pp. 29-31.
[121]Tomlins,op. cit., pp. 29-31.
[122]Of this Henry Lanman we know nothing beyond the facts here revealed. Possibly he was a brother of the distinguished actor John Lanman (the name is variously spelled Lanman, Laneman, Lenmann, Laneham, Laynman, Lanham), one of the chief members of Leicester's troupe, and one of the twelve men selected in 1583 to form the Queen's Men. But speculation of this sort is vain. It is to be hoped that in the future some student will investigate the life of this obscure theatrical manager, and trace his connection with the early history of the drama.
[122]Of this Henry Lanman we know nothing beyond the facts here revealed. Possibly he was a brother of the distinguished actor John Lanman (the name is variously spelled Lanman, Laneman, Lenmann, Laneham, Laynman, Lanham), one of the chief members of Leicester's troupe, and one of the twelve men selected in 1583 to form the Queen's Men. But speculation of this sort is vain. It is to be hoped that in the future some student will investigate the life of this obscure theatrical manager, and trace his connection with the early history of the drama.
[123]Halliwell-Phillipps,Outlines,i, 365.
[123]Halliwell-Phillipps,Outlines,i, 365.
[124]The Privy Council on March 10, 1601, refers to it as "The Curtaine in Moorefeildes"; in ancient times, says Stow, Moorefields extended to Holywell. See Halliwell-Phillipps,Outlines,i, 364.
[124]The Privy Council on March 10, 1601, refers to it as "The Curtaine in Moorefeildes"; in ancient times, says Stow, Moorefields extended to Holywell. See Halliwell-Phillipps,Outlines,i, 364.
[125]Tomlins,op. cit., p. 31.
[125]Tomlins,op. cit., p. 31.
[126]View of Sundry Examples, 1580.
[126]View of Sundry Examples, 1580.
[127]The Anatomy of Abuses, ed. F.J. Furnivall, New Shakspere Society, p. 180. For other descriptions of this earthquake see Halliwell-Phillipps,Outlines,i, 369.
[127]The Anatomy of Abuses, ed. F.J. Furnivall, New Shakspere Society, p. 180. For other descriptions of this earthquake see Halliwell-Phillipps,Outlines,i, 369.
[128]Tarlton's Jests, ed. by J.O. Halliwell for the Shakespeare Society (1844), p. 16. For a discussion see the precedingchapteron the Theatre, p.72.
[128]Tarlton's Jests, ed. by J.O. Halliwell for the Shakespeare Society (1844), p. 16. For a discussion see the precedingchapteron the Theatre, p.72.
[129]For details see thechapteron the Swan.
[129]For details see thechapteron the Swan.
[130]Dasent,Acts of the Privy Council,xxvii, 313.
[130]Dasent,Acts of the Privy Council,xxvii, 313.
[131]Marston,The Scourge of Villainy(1598); Bullen,The Works of John Marston,iii, 372.
[131]Marston,The Scourge of Villainy(1598); Bullen,The Works of John Marston,iii, 372.
[132]Greg,Henslowe Papers, p. 52.
[132]Greg,Henslowe Papers, p. 52.
[133]The Malone Society'sCollections,i, 82.
[133]The Malone Society'sCollections,i, 82.